The ‘Severance’ Star Who Once Led the NEA Talks Season 2 Role, Trump and the Arts

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[This story contains spoilers from Severance season two, episode eight, “Sweet Vitriol.]

Jane found out about ‘Severance’ from her grandkids, and thinks it’s popular with young people.)

Tracking down accurate demographic information can be challenging, but if Alexander’s assessment is correct, many young viewers of Severance‘s second season might not fully appreciate the significance of Alexander’s appearance in last week’s episode. In case you missed it, she gained recognition for films such as “The Great White Hope” from 1970 (and the play with James Earl Jones a year prior), “All the President’s Men” in 1976, “Kramer vs. Kramer” in 1979, and “Testament” in 1983. She was nominated for Oscars for all these films, won two Emmys (for “Playing for Time” in 1980 and “Warm Springs” in 2005), a Tony for “The Great White Hope”, and served as the head of the National Endowment for the Arts from 1993 to 1997.

In an interview with The Hollywood Reporter, Alexander, now 85, reflects on the universality of the arts, stating, “The arts were meant for everyone.” During her tenure at the NEA, she waged an existential fight against then Senate Majority Leader Newt Gingrich over the agency’s survival. However, the partisan divide in today’s Congress seems almost alien to her. “There was civility back then,” she reminisces. “The idea that funding could be revoked… it just doesn’t seem logical to me.

In the series “Severance”, Alexander plays Sissy Cobel, a sharp-tongued character who is the aunt of Harmony Cobel, portrayed by Patricia Arquette. Sissy resides on the periphery of Salt’s Neck, a desolate town that served as Harmony’s childhood home and workplace, where she was essentially a child soldier for Lumon Industries. The town’s dilapidated structures are intermingled with a population addicted to ether, creating an atmosphere strikingly reminiscent of modern-day opioid crises – the episode’s title, “Sweet Vitriol”, is street slang for this drug, which, much like the severance process, leads to detachment. (Just wanted to check, did you find last week’s episode intriguing?)

Alexander admits that she has no knowledge about the various theories, but she’s a fan of the show and her grandkids have filled her in on all the details. For instance, the man seen in the opening scenes is Jerry Stahl, a novelist and screenwriter whose 1995 memoir ‘Permanent Midnight’ was turned into a movie in 1998 starring Ben Stiller, who also happens to be the boss of the show. Alexander appreciates this detail as it shows the director-producer’s attention to detail. “He has a keen eye,” she remarks.

Alexander discusses with THR how she crafted Sissy’s “dramatic flair”, her journey advocating for arts funding, and what remains unresolved in her thoughts.

In this revised version, I have used simpler language to make it more accessible while still conveying the same meaning as the original text.

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How did your Severance casting come about?

Ben selected me, and I was overjoyed. It’s true that I’ve known him since he was just starting out, but our paths haven’t crossed much since then. However, his parents were friends with my husband and me – Anne Meara and Jerry Stiller, the renowned comedians. Admittedly, I was a dedicated fan of the show during its early days.

When Ben reached out, how much did he tell you about the character?

I was given no information at all. They kept their plans close to their vest, which made sense considering the situation! What drew me in was the mystery and the challenge of solving it. I didn’t know much, but I was certainly intrigued. He informed me that I would collaborate with Cobel, who is played by Patricia Arquette, and that piqued my interest. Then, I realized I must be connected to her in some way. Additionally, I found out we were filming in Newfoundland, which isn’t too distant from Nova Scotia, and that made me happy because I adore Newfoundland. As you can see from the surroundings, it’s quite rugged and untamed.

Some individuals have mentioned that the town resembles a frigid harbor. They’re questioning if this could be connected to the Cold Harbor project, which Mark S. is nearly completing.

Frankly, I’m completely clueless about everything. When I received the script in Nova Scotia, it was isolated enough that I had no one to share it with, even if I desired to do so!

How did you develop the character, then, knowing so little about her?

Without a doubt, Dan Erickson is the primary writer for the series Severance, and he’s simply outstanding. His writing reveals such depth about the characters in this particular scene, leaving a profound impact on me. This one episode was particularly enlightening, which made it incredibly thrilling. Surprisingly, there wasn’t much for me to contribute.

Had you worked with Patricia Arquette before?

I haven’t collaborated with her personally, but I’ve known her. My late husband, Edwin Sherin, frequently worked with Patricia whenever possible. He attempted to involve her in some Law & Order projects since he was the executive producer, but she was always swamped. He would often praise her, and rightly so. She’s incredibly professional, eager to work, open to suggestions, and as a result, she’s an exceptional actress.

Few actors I’m familiar with exhibit such tranquility once they step out of the limelight as she does. When not required for the next setup, she quickly slips into a peaceful stillness, often standing quietly in a room’s corner. For instance, during our shoot in Newfoundland, she managed this perfectly, remaining motionless and focused, almost as if in a meditative state.

That doesn’t sound too different to her character.

[“Yes,”] I appreciated the liveliness of our shared scenes, as it revealed that my character isn’t static. She carries an emotional turbulence within her, which spoke volumes about the experiences that shaped the young character [Cobel].

As a self-proclaimed theater enthusiast, I found myself captivated by the intimate and immersive atmosphere of this episode, which seemed reminiscent of a well-crafted stage play. With its focus on a single setting and predominantly one room, it brought back memories of my theater days, where such confined yet compelling stories often left the biggest impact.

I hadn’t considered this before, but you make a valid point. It does seem like it could be a stage play, given Sissy’s flair for the dramatic. There’s a lot of emotional intensity in her character. I intentionally steered the narrative in that direction. I wanted to create a stark contrast with Cobel and James Le Gros [as Cobel’s childhood friend], since I don’t use drugs.

Did you talk with Ben about playing with the drama?

In my interaction with Ben as a director, I was aware that he’d signal for me to tone it down when needed. He’s not only a talented director but also an exceptional actor. However, I believe he wanted me to push further at times. He’d occasionally spur me on to go even harder. He desired the intensity for the film, and he had the final say in what remained. And honestly, I’m thrilled with his choices. My grandkids have mentioned that there might be a meme circulating featuring me saying “You are a weed.

That’s a great line. It is very old-school drama, you’re right.

She’s biblical.

She definitely esteems herself.

And some people are saying she’s wearing a nightgown, but it’s actually kind of a cult outfit.

Do you know the story behind the costume?

Among several options Sarah Edwards proposed, one particularly stood out to Ben. It was a white dress, which we had other more casual alternatives like big sweater ensembles. However, Ben instantly picked the white dress, and it proved fitting because it symbolized Sissy’s solitary life, her lack of acceptance by others, yet her connection to Kier, as evidenced by the shrines in her bedroom.

Do you think we might see Sissy in another episode?

They have a good deal of tidying up left to do and still have other queries to address. If they happen to return to that part of Newfoundland, I’m confident they would pay me another visit. Or if they should wish to expand on the topic of who Kier was. My hunch is that Sissy harbored feelings for him beyond friendship. Although we know he was married, I don’t believe she ever tied the knot herself.

Even the visuals of Salt’s Neck informs a lot of Cobel’s backstory.

I thoroughly appreciated the unique way Ben framed each scene during the entire episode. Our crew was accustomed to working in Quebec’s cold and gloomy settings, but Ben’s approach was quite different from what I’m used to as an actress. He employed angles that were not typically seen, sometimes shooting from unusual perspectives or even from behind, which made me question why I wasn’t the main focus.

Cobel did not leave Salt’s Neck on good terms. Do you know what she’s off to now?

Indeed, I’m binge-watching the entire season in hopes of getting a clearer picture. It’s fortunate that I have grandkids who can help me decipher it all as we go along. They explain things to me and often share their insights. By the way, those online recaps are quite handy too!

Yes, it’s a cottage industry. Recapping television.

It’s amazing! I’ve never experienced it before.

Do you have any favorite storylines for the end of season two?

I’m deeply fascinated by the storyline involving Mark and his character arc – the reintegration, which touches me emotionally. I can’t wait to see where the narrative takes Milchick next. Also, there’s this gifted young girl, Miss Huang, who appears to have been a student at Lumen too, earning many accolades. So, who is this new child character? As for Mark, his relationship with Helly is another intriguing aspect that I’m eager to see unfold.

Could you share some insights about your experience as the chairwoman of the National Endowment for the Arts during the 1990s?

During Clinton’s presidency, I found myself engaged from ’93 to ’97, a span of four eventful years. My appointment was welcomed by the U.S. Senate without a single dissenting voice. However, just a few short months later, the political landscape shifted dramatically when the House flipped for the first time in 40 years towards conservative representation. Newt Gingrich, now Speaker of the House, had his sights set on organizations like the NEA and the NEH – National Endowment for the Humanities. The reason? Controversial grants that sparked outrage among many.

Two pieces of art, in particular, ignited this firestorm: Robert Mapplethorpe’s homoerotic works and Andres Serrano’s “Piss Christ,” a photograph featuring a crucifix submerged in a liquid resembling urine (though it was actually beer). These controversial pieces fueled the desire to dismantle the NEA. As supporters, we were entrenched in a battle to keep this agency alive for the next four years. And remarkably, with a single vote, we succeeded in our mission.

What was the vote like?

After the first conservative Congress took office, I asked my scheduler to arrange for me to travel. I needed to speak with the American people. Over the next 13 months, I visited every state and approximately 200 cities and towns. This proved effective because during those 13 months, I had the opportunity to meet countless individuals, and I would ask them if they were aware of what the NEA does. I would explain that many local art institutions receive grants from the NEA, including places like the ceramic pottery studio their children attend after school.

In an attempt to make them aware, I explained that each grant was supported by the community, indicating that there was already community engagement. This concept resonated with everyone, and they questioned why we were considering discontinuation. Surprisingly, many Republicans also agreed with this reasoning. Having friends on various political spectrums proved invaluable. In the end, we prevailed, but it was a tough battle. I presented my case to Congress thirteen times over a four-year period.

What was that like?

Back in the day, I was as nervous as a cat on a hot tin roof during my confirmation hearing. However, when the Senate unanimously backed me – even senators like Jesse Helms and Strom Thurmond, known for their strong stances – it showed just how much has changed over the years. In fact, I used to have lunch with Senator Helms frequently, which gives you an idea of the transformation that’s taken place since then.

In those days, there was a level of civility that allowed me to say, “Senator Helms, let’s respectfully disagree.” He responded with a wry smile and said, “Well, I’m not so sure, Miss Alexander. We’ll see.” Despite our differences, we always maintained a cordial relationship throughout the process.

What’s changed, from your perspective?

The arts have traditionally been accessible to everyone, not just creators, but viewers, buyers, collectors, and learners alike. This applies to all the various demographic groups within the United States. During my time at the NEA, Congress even requested additional programming, with Senator Robert Byrd from West Virginia advocating for more grants for those living in rural areas who lacked such opportunities. Therefore, the prospect of grant funding being removed seems illogical, as it is evident that the people value and seek these resources.

In your words, you found it straightforward to demonstrate the worth of art, and your efforts were primarily about informing people regarding the operations of the NEA. Is this still accurate in today’s context?

I can’t say for sure what the answer is, since I don’t have a clear understanding of everyone’s opinions on this matter. Our president has decided to manage the Kennedy Center, and it seems he isn’t fond of certain types of art – though I’m not entirely sure what specific art forms he’s referring to. There appears to be some confusion about his intentions that I don’t fully grasp. However, I will stand as a strong advocate for the arts on behalf of the American people and ensure they receive funding for artistic endeavors in their districts that are matched by other sources.

By collaborating with the National Endowment for the Arts and advocating for arts financing, did these experiences influence the kinds of acting roles that appealed to you more?

Indeed, rather than attributing it to skill alone, I must admit that a significant portion of my success can be attributed to good fortune. Opportunities, such as Alan Pakula inviting me to star in All the President’s Men and The Great White Hope, came knocking at my door. I consider myself fortunate, and I am acutely aware of it. Currently, I’m penning a book about my career, and I acknowledge that I was present during crucial cultural and political moments in history, creating art that often reflected or informed those times.

Severance is definitely reacting to many different aspects of our lives right now.

Indeed, that’s one of the reasons why I can’t get enough of it. Severance is like a massive brain teaser mirroring our current reality. We’re all trying to unravel its mysteries – what’s happening and how should we respond?

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Currently, Severance’s second season is available to stream on Apple TV+, with six episodes already released. New episodes are added every Friday. Keep up with the season’s developments by following THR’s coverage.

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2025-03-11 19:55